DOCSLIB.ORG

What Is Art? a Reading List Asa Curriculum Diversification Grant Project by Simon Fokt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Is Art? a Reading List Asa Curriculum Diversification Grant Project by Simon Fokt WHAT IS ART? A READING LIST ASA CURRICULUM DIVERSIFICATION GRANT PROJECT BY SIMON FOKT The aim of this reading list is to support teaching and promote equality and decolonisation in the context of modern analytic philosophy class. Using it serves two purposes: 1. Deconstructing the stereotype of philosophers as white males, and thus preventing the development of implicit biases and stereotype threat in students. 2. Developing sensitivity to biases present in both art and philosophy and thus preventing the development of, and counteracting the existing explicit and implicit ethnocentrism and sexism. These aims determine the scope of the list. It focuses on areas which are normally discussed in analytic philosophy classes, and does not look for topics or authors who write outside of the analytic tradition (with the exception of some art historical and other texts which were particularly relevant). This is a conscious choice following a pragmatic thought: while it is desirable to expand our curricula to include such topics and authors in a long run, at present it seems likely that most lecturers will prefer to introduce changes gradually. Including works which are firmly rooted in the analytic tradition, but are either written by authors from under-represented groups or explicitly address the issues of ethnocentrism and gender bias, seems like a worthwhile and achievable goal. Further, it might better serve the first of the above aims: deconstructing the white male stereotype does not require showing that authors from under- represented groups are good at doing some other (feminist, Eastern, etc.) kind of philosophy – it requires showing that they are good at doing precisely that which white male philosophers are good at. The list is divided in four distinct units which work well in conjunction, but can be separated and introduced to existing modules. Alternatively, specific texts can be pulled out of the list and used in pre- existing modules, or reorganized to create a different module structure. The texts are marked as introductory readings well suited for undergraduate teaching, specialised readings more appropriate for senior and Masters classes, and further readings which will likely work best in supplementing core texts. The last unit is less central to the topic of art classification, but can provide an interesting addition to classes looking to address more controversial topics and can be used in more specialised modules. All entries are accompanied by short biographies. Following research presented by Katharine Jenkins and Jennifer Saul at the Aesthetics and Race conference, Leeds 2015, I recommend including them in the syllabi and potentially supplementing them with mentions of the authors’ racial background (self- identifications can be found in the UPDirectory). Doing so can make equality issues salient to the students while avoiding the suspicion a more explicit reference to gender and race could evoke. The greatest challenge in compiling this list has been finding texts written by non-White authors, as very few of them wrote on the topic of classification in the analytic tradition. I recognise this limitation and hope that this and similar resources will inspire more excellent research from such authors. CONTENTS UNIT 1: Definitions of art ....................................................................................................................................... 4 Catharine Abell, ‘Art: What It Is and Why It Matters’ ................................................................................................ 5 Dominic McIver Lopes, Beyond Art, Introduction and chap. 2 & 3............................................................................ 6 Cynthia Freeland, But Is It Art?, chap. 2, 3 & 5. ......................................................................................................... 7 Ruth Saw, ‘What Is a “Work of Art”?’ ........................................................................................................................ 8 Peg Zeglin Brand, ‘Glaring Omissions in Traditional Theories of Art’ ........................................................................ 9 Ajume H. Wingo, ‘The Many-Layered Aesthetics of African Art’ ............................................................................. 10 Paul Crowther, ‘Cultural Exclusion, Normativity, and the Definition of Art’ ........................................................... 11 Larry Shiner, The Invention of Art: A Cultural History .............................................................................................. 12 Marcia Muelder Eaton, ‘A Sustainable Definition of “Art”’ ..................................................................................... 13 NEW Simon Fokt, 'The cultural definition of art' .............................................................................................................. 14 Marcia Muelder Eaton, ‘Art, Artifacts, and Intentions’ ........................................................................................... 15 Patricia H Werhane, ‘Evaluating the Classificatory Process’.................................................................................... 16 Susanne Langer, Feeling and Form; a Theory of Art ................................................................................................ 17 Ayn Rand, The Romantic Manifesto ........................................................................................................................ 18 NEW Matthew Pelowski, et al. "But is it really art? The classification of images as “Art”/“Not Art” and correlation with appraisal and viewer interpersonal differences’ ................................................................... 19 Unit 2: Do we need a definition of art? ................................................................................................................ 20 Dominic McIver Lopes, ‘Nobody Needs a Theory of Art’ ......................................................................................... 21 Carolyn Korsmeyer, Gender and Aesthetics ............................................................................................................ 22 Dominic McIver Lopes, Beyond Art .......................................................................................................................... 23 Lauren Tillinghast, ‘Essence and Anti-Essentialism about Art’ ................................................................................ 24 Ellen Dissanayake, ‘Doing Without the Ideology of Art’ .......................................................................................... 25 Ruth Lorand, ‘Classifications and the Philosophical Understanding of Art’ ............................................................ 26 NEW Yuriko Saito, Aesthetics of the Familiar: Everyday Life and World-Making, chap. 1 ............................................... 27 2 Unit 3: Non-Western art ...................................................................................................................................... 28 NEW Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’ .......................... 29 NEW Stephen Davies, et al. ‘How Do Cross-Cultural Studies Impact Upon the Conventional Definition of Art?’ ........... 31 Dominic McIver Lopes, ‘Art Without “Art”’ ............................................................................................................. 32 Larry Shiner, ‘“Primitive Fakes,” “Tourist Art,” and the Ideology of Authenticity’ .................................................. 33 Stephen Davies, ‘Non-Western Art and Art’s Definition’ ........................................................................................ 34 Denis Dutton, ‘“But They Don’t Have Our Concept of Art”’ .................................................................................... 35 H. Gene Blocker, ‘Is Primitive Art Art?’ .................................................................................................................... 36 Ajume H Wingo, ‘African Art and the Aesthetics of Hiding and Revealing’ ............................................................. 37 Daniel Wilson, 'The Japanese Tea Ceremony and Pancultural Definitions of Art' ................................................... 38 Annelies Monseré, ‘Non-Western Art and the Concept of Art: Can Cluster Theories of Art Account for the Universality of Art?’ ........................................................................... 39 Julius Moravcsik, ‘Why Philosophy of Art in Cross-Cultural Perspective?’ .............................................................. 40 Sidney Littlefield Kasfir, ‘African Art and Authenticity: A Text with a Shadow’ ....................................................... 41 Unit 4: The borderlines of art: pornography ........................................................................................................ 42 Petra van Brabant and Jesse Prinz, ‘Why Do Porn Films Suck?’ .............................................................................. 43 Stephanie Patridge, ‘Exclusivism and Evaluation: Art, Erotica and Pornography’ ................................................... 44 NEW A. W. Eaton, ‘“A Lady on the Street but a Freak in the Bed”: On the Distinction Between Erotic Art and Pornography’ ....................................................................................... 45 Mari Mikkola, ‘Pornography, Art and Porno-Art’ ...................................................................................................
Load more

Recommended publications
  • Ayn Rand? Ayn Rand Ayn
    Who Is Ayn Rand? Ayn Rand Few 20th century intellectuals have been as influential—and controversial— as the novelist and philosopher Ayn Rand. Her thinking still has a profound impact, particularly on those who come to it through her novels, Atlas Shrugged and The Fountainhead—with their core messages of individualism, self-worth, and the right to live without the impositions of others. Although ignored or scorned by some academics, traditionalists, pro- gressives, and public intellectuals, her thought remains a major influence on Ayn Rand many of the world’s leading legislators, policy advisers, economists, entre- preneurs, and investors. INTRODUCTION AN Why does Rand’s work remain so influential? Ayn Rand: An Introduction illuminates Rand’s importance, detailing her understanding of reality and human nature, and explores the ongoing fascination with and debates about her conclusions on knowledge, morality, politics, economics, government, AN INTRODUCTION public issues, aesthetics and literature. The book also places these in the context of her life and times, showing how revolutionary they were, and how they have influenced and continue to impact public policy debates. EAMONN BUTLER is director of the Adam Smith Institute, a leading think tank in the UK. He holds degrees in economics and psychology, a PhD in philosophy, and an honorary DLitt. A former winner of the Freedom Medal of Freedom’s Foundation at Valley Forge and the UK National Free Enterprise Award, Eamonn is currently secretary of the Mont Pelerin Society. Butler is the author of many books, including introductions on the pioneering economists Eamonn Butler Adam Smith, Milton Friedman, F.
    [Show full text]
  • Retrieving Kant's Aesthetics for Art Theory After
    8 Retrieving Kant’s Aesthetics for Art Theory After Greenberg Some Remarks on Arthur C. Danto and Thierry de Duve Diarmuid Costello The Fate of Aesthetics in Contemporary Art Theory In art theory since the early 1980s the discourse of aesthetics has been notable by its absence. Th is suggests that the majority of art theorists believe that the historical or conceptual limits of aesthetic theory have been breached by the internal development of art after modernism. But why would art theorists believe this? I n a n s w e r t o t h i s q u e s t i o n I s u g g e s t — I t a k e i t n o n c o n t r o v e r s i a l l y — t h a t the widespread marginalization of aesthetics in postmodern art theory may be attributed to the success of the art critic and theorist Clement Greenberg. In co- opting the discourse of (particularly Kantian) aesthetics to underwrite modernist theory, Greenberg mediated the art world’s sub- sequent rejection of both aesthetics in general and Immanuel Kant’s aes- thetics in par tic u lar. But one need only refl ect on the centrality for postmodern theory of anti- aesthetic fi gures like Marcel Duchamp or of movements (such as surrealism), marginalized in Greenberg’s account of “the best modern art,” to see that for all their antipathy to Greenberg, many postmodernist art theorists continue to operate with a broadly Greenbergian view of aesthetics—which is why, of course, they are forced to reject it.
    [Show full text]
  • Outline of a Sociological Theory of Art Perception∗
    From: Pierre Bordieu The Field of Cultural Production: Essays on Art and Literature ©1984, Columbia University Press Part III: The Pure Gaze: Essays on Art, Chapter 8 Outline of a Sociological Theory of Art Perception∗ PIERRE BOURDIEU 1 Any art perception involves a conscious or unconscious deciphering operation. 1.1 An act of deciphering unrecognized as such, immediate and adequate ‘comprehension’, is possible and effective only in the special case in which the cultural code which makes the act of deciphering possible is immediately and completely mastered by the observer (in the form of cultivated ability or inclination) and merges with the cultural code which has rendered the work perceived possible. Erwin Panofsky observes that in Rogier van der Weyden’s painting The Three Magi we immediately perceive the representation of an apparition’ that of a child in whom we recognize ‘the Infant Jesus’. How do we know that this is an apparition? The halo of golden rays surrounding the child would not in itself be sufficient proof, because it is also found in representations of the nativity in which the Infant Jesus is ‘real’. We come to this conclusion because the child is hovering in mid-air without visible support, and we do so although the representation would scarcely have been different had the child been sitting on a pillow (as in the case of the model which Rogier van der Weyden probably used). But one can think of hundreds of pictures in which human beings, animals or inanimate objects appear to be hovering in mid-air, contrary to the law of gravity, yet without giving the impression of being apparitions.
    [Show full text]
  • Ayn Rand and Youth During the 1960S
    UC Berkeley The Charles H. Percy Undergraduate Grant for Public Affairs Research Papers Title Radicals for Capitalism: Ayn Rand and Youth during the 1960s Permalink https://escholarship.org/uc/item/4tb298wq Author Tran, Andrina Publication Date 2011-05-31 Undergraduate eScholarship.org Powered by the California Digital Library University of California ““RRAADDIICCAALLSS FFOORR CCAAPPIITTAALLIISSMM”” Ayn Rand and Youth During the 1960s ANDRINA TRAN DEPARTMENT OF HISTORY There is a fundamental conviction which some people never acquire, some hold only in their youth, and a few hold to the end of their days – the conviction that ideas matter. In one’s youth that conviction is experienced as a self-evident absolute, and one is unable fully to believe that there are people who do not share it. That ideas matter means that knowledge matters, that truth matters, that one’s mind matters. And the radiance of that certainty, in the process of growing up, is the best aspect of youth. –Ayn Rand CONTENTS Acknowledgements 2 INTRODUCTION 2 I THE QUIETEST REVOLUTION IN HISTORY 11 II MARKETING OBJECTIVISM 24 III THE THRILL OF TREASON 32 IV LIFE, LIBERTY, PROPERTY: Persuasion and the Draft 38 V LIBERTARIANS RISING 46 EPILOGUE: MEMORY & HISTORY 52 Bibliography 55 Appendix 61 1 ACKNOWLEDGEMENTS Even a paper pertaining to egoism could not have come into existence without the generous support of so many others. I would like to thank the Summer Undergraduate Research Fellowship Program, the Center for the Study of Representation at the Institute of Governmental Studies, and the Center for the Comparative Study of Right-Wing Movements for funding the various stages of my research.
    [Show full text]
  • “The Experience of Flying”: the Rand Dogma and Its Literary Vehicle Camille Bond Submitted in the Partial Fulfillment Of
    “The Experience of Flying”: The Rand Dogma and its Literary Vehicle Camille Bond Submitted in the Partial Fulfillment of the Prerequisite for Honors in English April 2017 © 2017 Camille Bond The greatest victory is that which requires no battle. Sun Tzu, The Art of War ​ CONTENTS INTRODUCTION: 2 WHY STUDY RAND? CHAPTER ONE: 8 ON THE FOUNTAINHEAD AND CHARACTER ​ ​ CHAPTER TWO: 39 ON ATLAS SHRUGGED AND PLOT ​ ​ CONCLUSION 70 WORKS CITED 71 Bond 1 ACKNOWLEDGMENTS To Bill Cain: Thank you for taking this project under your wing! I could not have asked for a more helpful advisor on what has turned out to be one of the most satisfying journeys of my life. To James Noggle and Jimmy Wallenstein: Thank you for your keen suggestions and advice, which brought new contexts and a clearer direction to this project. To Adam Weiner: Thank you for your assistance, and for the inspiration that How Bad Writing ​ Destroyed the World provided. ​ And to my family: Thank you for your support and encouragement, and for making this project possible. Bond 2 INTRODUCTION: WHY STUDY RAND? Very understandably, I have been asked the question “Why would you study Ayn Rand?” dozens of times since I undertook this project over the summer of 2016. In a decidedly liberal community, Rand’s name alone invokes hostility and disgust; even my past self would have been puzzled to learn that she would go on to spend a year of her life engaging academically with Rand’s work. Many of Rand’s ideas are morally repulsive; it can be physically difficult to read her fiction.
    [Show full text]
  • Paul Woodruff Curriculum Vitae
    PAUL WOODRUFF CURRICULUM VITAE (November, 2013) EDUCATION 1965 A.B. in Classics, Princeton University 1968 B.A. in Literae Humaniores, Oxford University (Merton College) 1973 Ph.D. in Philosophy, Princeton University Dissertation: "The Euthyphro and the Hippias Major: Two Studies in Socratic Dialectic," supervised by Gregory Vlastos EMPLOYMENT 1969-1971 U.S. Army, discharged with rank of Captain 1973- Department of Philosophy, The University of Texas at Austin ADMINISTRATIVE APPOINTMENTS 1976-78, 1979-81 Assistant Chairman, Department of Philosophy, The University of Texas at Austin 1987-88 Graduate Adviser, Department of Philosophy, The University of Texas at Austin 1988-1991 Chairman, Department of Philosophy, The University of Texas at Austin 1991-2006 Director, Plan II Honors Program, The University of Texas at Austin 2006- Dean of Undergraduate Studies The University of Texas at Austin OTHER SERVICE 1985-87 President, Phi Beta Kappa, Chapter A of Texas 1990-92 Chair, Mellon Fellowship Program, Southwest Region 1990-94 Vice-President, Institute for the Humanities at Salado 1992-93 Chair, American Philosophical Association Program Committee, Central Division 1992-97 Chair, Rhodes-Marshall Review Committee, The University of Texas at Austin 1996-97 Chair, Faculty Council, The University of Texas at Austin 1997 Convened conference on Reason and Religion in Fifth-Century Greece in Austin 2010- Executive Board Member, The Reinvention Center. AWARDS, FELLOWSHIPS, GRANTS 1965-1968 Marshall Scholarship 1978-1979 Junior Fellowship, The Center for Hellenic Studies 1983 Austin Book Award PAUL WOODRUFF, CURRICULUM VITAE PAGE 2 1984-1985 Research Fellowship, National Endowment for the Humanities Summer, 1986 Grant to teach a seminar for college teachers, N.E.H.
    [Show full text]
  • Rethinking Plato's Theory of Art: Aesthetics and the Timaeus
    Rethinking Plato’s Theory of Art: Aesthetics and the Timaeus Omid Tofighian Introduction The Timaeus presents a fascinating account of the cosmos. It includes a creation myth that introduces the figure known as the ‘Demiurge’, who, despite the fact that he is the cause of the sensible world, is reverently attributed with reason, and whose creation – the cosmos – is actually beautiful and good. In this dialogue Plato offers his readers a panorama of the universe. But just what are his intentions for this? Is his approach a precursor to the methods of natural science,1 or does the Timaeus fall under the category of theology? This paper will discuss Plato’s cosmological treatise and certain consequences that can be drawn, that is, how the methods used to analyse the origins and structure of the universe reveal a more existential attitude towards aesthetics. In the Timaeus Plato explores the complexities of mimesis and entertains the possibility that imitation could actually exhibit ideal qualities. These considerations have repercussions for the status of the material world in Plato’s cosmology, but they may also be extended to rethink his theory of art. I wish to analyse a number of salient themes in the Timaeus such as ontology, mythic symbols and the use of rhetoric. I will demonstrate how Plato’s view towards these themes in the Timaeus can be extrapolated to reassess his aesthetics. My critical analysis will provoke the question – ‘What evaluation of art would Plato have offered in accordance with the positions explicated in the Timaeus?’ Upon investigating a number of dialogues, searching specifically for references to art or representation, I realised that certain views I had thought to be exclusive to the Timaeus, or other late dialogues, also featured in works as early as the Ion.
    [Show full text]
  • Kant, Art, and Art History
    Kant, Art, and Art History Moments of Discipline mark a. cheetham University of Toronto published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 10 Stamford Road, Oakleigh, vic 3166, Australia Ruiz de Alarcon ´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org Mark A. Cheetham 2001 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2001 Printed in the United States of America Typeface Concorde 9.75/13 pt. System MagnaType [ag] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Cheetham, Mark A. (Mark Arthur), 1954– Kant, Art, and Art History: moments of discipline / Mark A. Cheetham. p. cm. Includes bibliographical references and index. isbn 0-521-80018-8 1. Kant, Immanuel, 1724–1804–Contributions in aesthetics. 2. Aesthetics, Modern. 3. Art–Philosophy. I. Title. b2799.A4 c48 2001 111′.85′092–dc21 00-063029 isbn 0 521 80018 8 hardback Contents Acknowledgments page ix 1 Introduction: Bo(a)rders 1 Why (Not) Kant? 7 Moments and Places of Discipline 11 Plasmatics 24 2 Place and Time: Kant in Rome, c. 1800 38 Kant in Rome 41 The Concurrency of Reception 45 The Politics of Beauty 52 3 The Genealogy of Authority: Kant and Art’s History in the Twentieth Century 67 “Immanent Meaning” and the Historicity of Art: 68 Panofsky and Kant Kant and Cubism Revisited 78 Clement Greenberg’s Strategic Formalism 87 4 The Sublime Is Now (Again): French Theory / International Art 101 Derrida’s Sublime 103 The Sublime Is Now (Again) 114 Scapes 124 The Limits of Pointing 130 Intimations of a Countersublime 136 vii contents 5 Kant’s Skull: Portraits and the Image of Philosophy, c.
    [Show full text]
  • Kant Expressive Theory Music
    Kant’s Expressive Theory of Music Samantha Matherne Journal of Aesthetics and Art Criticism (2014, pre-print) Abstract: Several prominent philosophers of art (e.g., Kivy, Dahlhaus, Schueller) have worried whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, i.e., not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, music can be experienced as either agreeable or beautiful depending upon the attitude we take towards it. Though we might be tempted to think he argues that we experience music as agreeable when we attend to its expressive qualities and as beautiful when we attend to its formal properties, I demonstrate that he actually claims that we are able to judge music as beautiful only if we are sensitive to the expression of emotion through musical form. With this revised understanding of Kant’s theory of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of music: given that music is not sentient, how can it express emotion? §1. Introduction As philosophers like Peter Kivy and Stephen Davies have emphasized, one of the central issues in the philosophy of music is the problem of expression.1 Frequently when we hear a piece of instrumental music, we describe it as expressing an emotion, e.g., Beethoven’s ‘Eroica’ symphony sounds triumphant or Chopin’s Étude in E Major (Op.
    [Show full text]
  • Two Models of Jewish Philosophy Submitted for the Degree of Phd in Philosophy at the London School
    Justifying One’s Practices: Two Models of Jewish Philosophy Submitted for the degree of PhD in Philosophy At the London School of Economics and Political Science Daniel Rynhold 2000 1 UMI Number: U120701 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U120701 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 773 ) Thesis Abstract Judaism is a religion that emphasises the importance of a set of practical commandments and in the history of Jewish philosophy various attempts have been made to rationalise or justify these commandments. In this thesis I try to establish a general model for the justification of practices through a critical examination of two such attempted rationalisations. However, the study is framed within the more general question of whether or not there can be such a thing as Jewish Philosophy as a genuinely substantive discipline. Thus, I take the particular topic of rationalising the commandments as a ‘case study’ in order to see whether we can do substantive Jewish philosophy at least in the practical sphere. In the main body of the thesis I look at the methods of rationalisation of Moses Maimonides and Joseph Soloveitchik and argue that despite being based on very different scientific models they share a central methodological presumption that I term the Priority of Theory (PoT).
    [Show full text]
  • Proceedings and Addresses of the American Philosophical Association
    January 2007 Volume 80, Issue 3 Proceedings and Addresses of The American Philosophical Association apa The AmericAn PhilosoPhicAl Association Pacific Division Program University of Delaware Newark, DE 19716 www.apaonline.org The American Philosophical Association Pacific Division Eighty-First Annual Meeting The Westin St. Francis San Francisco, CA April 3 - 8, 2007 Proceedings and Addresses of The American Philosophical Association Proceedings and Addresses of the American Philosophical Association (ISSN 0065-972X) is published five times each year and is distributed to members of the APA as a benefit of membership and to libraries, departments, and institutions for $75 per year. It is published by The American Philosophical Association, 31 Amstel Ave., University of Delaware, Newark, DE 19716. Periodicals Postage Paid at Newark, DE and additional mailing offices. POSTMASTER: Send address changes to Proceedings and Addresses, The American Philosophical Association, University of Delaware, Newark, DE 19716. Editor: David E. Schrader Phone: (302) 831-1112 Publications Coordinator: Erin Shepherd Fax: (302) 831-8690 Associate Editor: Anita Silvers Web: www.apaonline.org Meeting Coordinator: Linda Smallbrook Proceedings and Addresses of The American Philosophical Association, the major publication of The American Philosophical Association, is published five times each academic year in the months of September, November, January, February, and May. Each annual volume contains the programs for the meetings of the three Divisions; the membership list; Presidential Addresses; news of the Association, its Divisions and Committees, and announcements of interest to philosophers. Other items of interest to the community of philosophers may be included by decision of the Editor or the APA Board of Officers.
    [Show full text]
  • Final Thesis
    A DEFENSE OF AESTHETIC ANTIESSENTIALISM: MORRIS WEITZ AND THE POSSIBLITY OF DEFINING ‘ART’ _____________________________ A Thesis Presented to The Honors Tutorial College Ohio University _____________________________ In Partial Fulfillment Of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Philosophy and Art History _____________________________ By Jordan Mills Pleasant June, 2010 ii This thesis has been approved by The Honors Tutorial College and the Department of Philosophy ___________________________ Dr. Arthur Zucker Chair, Department of Philosophy Thesis Advisor ___________________________ Dr. Scott Carson Honors Tutorial College, Director of Studies Philosophy ___________________________ Jeremy Webster Dean, Honors Tutorial College iii This thesis has been approved by The Honors Tutorial College and the Department of Art History ___________________________ Dr. Jennie Klein Chair, Department of Art History Thesis Advisor ___________________________ Dr. Jennie Klein Honors Tutorial College, Director of Studies Art History ___________________________ Jeremy Webster Dean, Honors Tutorial College iv Dedicated to Professor Arthur Zucker, without whom this work would have been impossible. v Table Of Contents Thesis Approval Pages Page ii Introduction: A Brief History of the Role of Definitions in Art Page 1 Chapter I: Morris Weitz’s “The Role of Theory in Aesthetics” Page 8 Chapter II: Lewis K. Zerby’s “A Reconsideration of the Role of the Theory in Aesthetics. A Reply to Morris Weitz”
    [Show full text]